All Quotes

“A Single Spark Can Start a Prairie Fire”

“Divide our forces to arouse the masses, concentrate our forces to deal with the enemy.”

“Children are the masters of the new society . Decree Regarding Marriage”

“这是不对的，因为天不止一个井大。如果它说：”

“I am working in Paris. I cannot for a single day get the thought out of my head that there probably exists something essential, some immutable reality, and now that I have lost everything else (thank God, it gets lost all on its own) I am trying to preserve this and, what is more, not to be content. In a word: I am working. Chagall's letter to A. N. Benois, 1911, as cited in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 146”

“For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time.. .It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms. From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 218”

“Chagall started in 1912 (in Paris) to paint his 'Golgotha' [2] and later more Crucifixions. In this (later! quote) Chagall looks back on this question.”

“If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless.. .In Paris, it seemed to me that I was discovering everything, above all a mastery of technique.. .It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me.. .I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface. (reaction on his first arrival in Paris, 1910) Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)”

“In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition. letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147”

“My works are dear to me, each in its own way, I shall have to answer for them on the Day of Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum.. letter to A. N. Benois, 1914, on his return to Russia; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147”

“The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914). Having ended up in the Russian provinces, I have decided to die . letter to Sergei K. Markovsky, 1915; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 149”

“..But it doesn't frighten me, because I studied in France, thank God, and I know of no artist in history who was not 'literary' when it came down to it. Not a single one. And even if they don't appear to be, I know of none and you at least don't recall them, because there is nothing to recall.. .Sometime or other I'd like to see a pure artist, but I didn't even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word sujet conceals the point of the thing. Yet even the most beautiful and emptiest sujet (an apple, a grape or any non-figurative painting ) doesn't help if there are no foundations, either innate or acquired through hard work.. .Why don't we say clearly: That is freedom, and this is commitment to the subject and to each tree its berries , but let it be a tree and not a donkey.. letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150”

“Or is all this fuss actually important for art history ? Oh, no, never. If things only ever originated as a result of such competition (between subject- and subjectless art) , it wouldn't be worth living among them, like an accidental, capricious toy. Clearly there is a greater, a more serene and more modest power, but we are either too lazy to live by its laws, or we have no time, or it "hurts too much". letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150”

“At present there is an extremely exaggerated formation of groups (students on the School of Art in Vitebsk) around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means. Obviously it would take too long to talk about this problem now.. .But there is one thing I will tell you: Although I was born in Russia - and what is more: in the "settlement territory" – I was trained abroad and am all the more sensitive to everything that is taking place here in the field of art (the fine arts). The memory of the splendour of the original is much to painful for me..[to live – crossed out] letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 73”

“..I am not going to New York, I am leaving Paris. That's quite different. Long before the war [World War 1.] I already had a distaste for the 'artistic life' I was involved in. – It's quite the opposite of what I'm looking for. – And so I tried, through the Library, to escape from artists somewhat. Then, with the war, my incompatibility with this milieu grew. I wanted to go away at all costs. Where to? My only option was New York where I knew you [ Walter Pach, artist and friend of Duchamp] and where I hope to be able to escape leading the artistic life, if needs be through a job which will keep me very busy. I ask you to keep all this from my brothers [all his brothers were artists as well] because I know my leaving will be very painful for them. – the same goes for my father and sisters. Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157”

“I have impressed upon you my preoccupation with earning money so as to have a secure existence over there. That's the way it have to be.. .I am very happy to hear that you Walter Pach sold these canvasses for me and thank you very sincerely for your friendship. But I am afraid of getting to the stage of needing to sell canvases, In a word, of being a painter for a living. – So I'll be leaving probably on the 22nd or rather 29th May [1915], if the police authorities allow me to take the steamer. Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157”

“People talk of Pablo Picasso as the leader of the Cubists but, strictly speaking, he is no longer a Cubist. Today he is a Cubist, tomorrow he will be something else. The only true Cubists are Gleizes and Metzinger. quote from the text 'A complete reversal of opinions on art'; Marcel Duchamp, in 'Art and Decoration', New York, 1 September 1915”

“They say any artist paying six dollars may exhibitMr. Richard Mutt [= Long time scholars recognize R. Mutt was Duchamp himself; a growing number attribute credit Elsa Von Freytag-Loringhoven[1], a bisexual dada artist living in New York who as a woman, needed a pseudonym to get into the Armory Exhibition[2]]. The object was photographed by Alfred Steiglitz before disappearing and was never was exhibited.What were the grounds for refusing Mr. Mutt fountain:1. Some contented it was immoral, vulgar.2. Others, it was plagiarism, a plain piece of plumbing. Quote in: Theories and Documents of Contemporary Art, – a source-book of Artist's writings, ed. Kristine Stiles / Peter Selz, University of California Press, London, England, 1996, p. 817”

“Duchamp's core quote / his own written comment on his artwork 'Fountain (Duchamp)': The Richard Mutt Case, Marcel Duchamp, ‘Blind Man’, New York, 1917: 5”

“To be looked at [from the other side of his art-work 'The Glass'] with one eye, close to, for almost an hour. an inscription in French title, (translated) – instruction of his artwork, 1918; as quoted from 'Looking at Dada' ed. Sarah Blyth / Edward Powers, MoMa museum, New York 2006, p. 13”

“Painting is over and done with. Who could do anything better than this propeller? Look, could you do that? Quote of Duchamp's remark to Brancusi, visiting the Paris Aviation Show of 1919; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 49”

“If a straight horizontal thread one meter long falls from a height of one meter on to a horizontal plane twisting as it pleases [it] creates a new image of the unit of length. Duchamp's stated premise for his art-work: '3 Standard stoppages' he made during 1913 -1914; ; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 50”

“I have been wanting to write to you for some time, but never have time, so absorbed I am in playing chess. I play night and day and nothing in the whole world interests me more than finding the right move.. .Nothing transcendental going on here – strikes [in Buenos Aires, where chess competitions were organized that year for not professionals] a lot of strikes, the people are on the move. Painting interests me less and less. a daily life quote, in Duchamp's letter to the Stettheimers family in New York, from Buenos Aires 3 Mai 1919; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159”

“A sort of egotistical self”

“I shall not find a painting more beautiful because the artist has painted a hawthorn in the foreground, though I know of nothing more beautiful than the hawthorn, for I wish to remain sincere and because I know that the beauty of a painting does not depend on the things represented in it. I shall not collect images of hawthorn. I do not venerate hawthorn, I go to see and smell it. Preface (1910) to The Bible of Amiens by John Ruskin , translated by Proust (1904); from Marcel Proust: On Reading Ruskin, trans. Jean Autret and Philip J. Wolfe (Yale University Press, 1987, ISBN 0”

“received in good society,”

“[Music] a pederast might hum when raping a choirboy. Of Fauré 's Romances sans paroles Op. 17, as quoted in Orledge Gabriel Fauré (1979), p. 48”

“Même au point de vue des plus insignifiantes choses de la vie, nous ne sommes pas un tout matériellement constitué, identique pour tout le monde et dont chacun n'a qu'à aller prendre connaissance comme d'un cahier des charges ou d'un testament; notre personnalité sociale est une création de la pensée des autres. Even in the most insignificant details of our daily life, none of us can be said to constitute a material whole, which is identical for everyone, and need only be turned up like a page in an account”

“Ce n’est pas le mal qui lui donnait l’idée du plaisir, qui lui semblait agréable ; c’est le plaisir qui lui semblait malin. It was not evil that gave her the idea of pleasure, that seemed to her attractive; it was pleasure, rather, that seemed evil.”

“They would have preferred for me, instead of Bloch, companions who would have given me no more than it is proper to give according to the laws of middle”